Feeds:
Posts
Comments

Posts Tagged ‘Eric Clapton’

(Above: The only acceptable version of “Hoochie Coochie Man.”)

By Joel Francis
The Daily Record

A fun game has been going around the internet recently: Name 15 albums that influenced your taste in music today in 15 minutes. Because we never play anything straight up at The Daily Record, we twisted the rules a little and came up with 15 songs we dislike by artists we like.

  1. Led Zeppelin – “Stairway to Heaven.” Might as well get this heavy out of the way first. Classic rock radio has destroyed this great band’s best-known song. I’ve heard it so many times at this point I can conjure it up in my sleep. I never need to hear it again. Let me go one step further: I’d rather hear a half-hour live version of “Moby Dick” than have to sit through “Stairway” again.
  2. Joni Mitchell – “The Circle Game.” Joni Mitchell’s 1970 song about the cycles of life is actually a remarkable song. It works too well, though, leaving me completely depressed and feeling like I care about has decayed around me in just under 5 minutes. No wonder Mitchell selected this song to close her classic album “Ladies of the Canyon.” After this there’s nowhere to go.
  3. Beastie Boys – “Fight For Your Right To Party.” The Beastie Boys were a lot more creative and fun than the frat boy stereotype this dumb song earned them.
  4. Van Halen – “Love Walks In.” The Sammy Hagar period of the band is rightly painted as inferior to the original lineup, but you can’t help when you were born and I came of age right in the middle of Van Hagar. I never had a problem with Eddie switching from six-string to synths, but the sugary melody combined with lyrics about aliens made this song more than I could handle.
  5. Boogie Down Productions – “Jimmy.” Usually a master of the message, KRS-One’s sermon on safe sex comes off as both preachy and simplistic. The idiotic chorus destroys what little credibility may remain. The track did inspire the Young MC cut “Keep It In Your Pants” from his follow-up to “Stone Cold Rhymin’.” I wish I didn’t know these things, but I do and there’s nothing anyone can do about it.
  6. Anyone – “The Long Black Veil.” First performed by Lefty Frizzell in 1959, this country classic has become a staple for Johnny Cash, The Band, Emmylou Harris, Joan Baez, Bruce Springsteen and a dozen more. I can’t argue with any of those artists, but for a reason I could never put a finger on, it never resonated with me.
  7. Radiohead – “Creep.” This song introduced Radiohead to America, and for that I should be grateful, but “Pablo Honey” is the outlier in their catalog for me. In my mind, the catalog officially starts with “The Bends.”
  8. James Brown – “Killing Is Out, School Is In.” This song became the unintentional center point of Brown’s 2002 concert at the River Market. A lackluster set had already been derailed by a couple Janis Joplin covers by Brown’s then-wife and mayor Kay Barnes onstage proclamation of James Brown Day. Several years after Columbine, the message was not only no longer timely, but embarrassing. The song was later released as a single. Thankfully few heard it.
  9. David Bowie – “Changes.” Yet another song ruined by radio and turned into lazy shorthand for its era by television and movie producers.
  10. The Beatles – “The Long and Winding Road.” Dislike may be too strong a word for this song, but Paul McCartney had already delivered a better ballad for the “Let It Be/Get Back” project. This one feels like a syrupy afterthought to me.
  11. Steve Earle – “The Devil’s Right Hand.” This number brought Earle acclaim as a songwriter before he established himself as a recording artist in his own right. I think Lynyrd Skynyrd covered the same turf better with “Saturday Night Special.” The verses aren’t band, but the song is overly reliant on the repetitive chorus.
  12. The Who – “Behind Blues Eyes.” This sensitive number never seemed to fit in with the rest of “Who’s Next” and it seemed even more out of place as a single. Pete Townshend usually struck the right balance of being tough and vulnerable at the same time (see “The Song Is Over” or “How Many Friends”). He sounds weak and whiney on “Blue Eyes.” Limp Bizkit’s cover confirmed my instinct. Sympathy for Fred Durst? Never!
  13. Anyone but Muddy Waters – “Hoochie Coochie Man.” In the hands of Waters and the Chess studio pros, this is a blues masterpiece. For just about anyone else, it is usually a lame attempt for a middle-aged white guy to show he’s hep to the blooze. I’m looking at you Eric Clapton, Alexis Korner, Steven Seagal and Dion.
  14. Jay-Z – “Young Forever.” Alphaville’s 1984 hit “Forever Young” worked perfectly as the soundtrack to Napolean Dynamite’s dance with Deb. In the hands of Hova, however, it is ridiculous.
  15. Louie Armstrong – “What A Wonderful World.” There’s nothing wrong with Satchmo’s sublime performance. He manages to walk the tightrope between sincere and saccharine as the strings underneath support his presentation. Unfortunately, no one understood the song’s message, as it has a crutch when movie producers want to tug on heartstrings. Joey Ramone’s version was great upon release, but in the decade since it has become a hipster version of the same cliché.  I guess this leaves me with Wayne Coyne and the Flaming Lips’ weird yet heartfelt reading. I don’t think mainstream America is ready for that to be thrust down their throats – yet.

Keep reading:

Review: Flaming Lips New Year’s Freakout

Jay-Z – “The Blueprint 3″

Review: “Pops” by Terry Teachout

Advertisements

Read Full Post »

(Above: Jeff Beck darn near steals “A Day in the Life” from the Beatles.)

By Joel Francis
The Kansas City Star

Guitar wizard Jeff Beck’s career spans six decades and encompasses rock, fusion, prog rock, rockabilly, techno and blues.

So when Beck says he prefers to experiment in different styles, it’s a bit like Mick Jagger saying he likes groupies.

There are few times on Beck’s 17 studio albums where he dips into as many styles as he has on his latest release, “Emotion and Commotion.”

The record includes performances with a full orchestra, collaborations with Irish, soul and opera singers and a pair of tributes to the late Jeff Buckley.

“I try not to get stuck on something or I’ll end up doing four albums of the same thing. I dabble,” Beck said in a recent telephone interview while on tour in Australia.

While Beck covers the gamut, his latest album was largely the product of good-luck accidents. Taking a cue from his fellow guitarists in the Yardbirds, Eric Clapton and Jimmy Page, Beck appears with an orchestra on several pieces, including Puccini’s aria “Nessun Dorma” and an arrangement of “Corpus Christi Carol,” recorded in tribute to Buckley.

“The whole idea of me doing classical numbers started five or six years ago,” Beck said. “I was trying to get my guitar to sound like a voice in an orchestra.”

The initial result — an interpretation of Mahler’s Symphony No. 5 — remains unreleased, but it encouraged Beck to keep trying.

“It was a hell of a lot of work for it to just be lying around, but (Mahler’s Fifth) allowed me to compromise,” Beck said. “I didn’t want to take an entire album’s worth to EMI Classics, because I couldn’t see a career jumping on orchestra stages every night with me as conductor. So we just have a taste.”

Beck unintentionally mirrored another aspect of Clapton’s career when he covered “Over the Rainbow.” Clapton performed the number on his 2001 tour, but Beck said he has no intention of hearing Clapton’s interpretation “because I don’t want to realize any similarity.

“I used to watch weepy movies, genuine quality films by Busby Berkeley, where all of a sudden a band kicks in and music would happen,” Beck said. “When I heard that song, it was one of the most beautiful performances.”

The lush orchestral numbers are countered by a pair of songs featuring Joss Stone on vocals, and several hard-rocking cuts with his old touring band, including young British bass savant Tal Wilkenfeld.

On “Lilac Wine,” a second tribute to Buckley, Beck is joined by Imelda May on the mic.

“This is how my life is,” Beck said. “I meet people or hear about them, and then I find out they’re available when I look into them. Imelda and Joss are two of the most beautiful women ever, and they fancy working with me, so who’s going to say no?”

“Emotion and Commotion” closes with a song from the Oscar-winning score to “Atonement.” Beck had been working with an orchestra on the piece, when producer Steve Lipson told him opera singer Olivia Safe was recording next door.

“We played her ‘Elegy for Dunkirk,’ and she completely flipped out. The next thing I know, she’s sitting in on it,” Beck said. “I was missing some element on my own. The performance is much deeper, thanks to her.”

The tributes to Buckley were also serendipitous. Beck wasn’t familiar with the late singer-songwriter until someone slipped him a CD on the way out of a party.

Beck said he was incredibly moved by Buckley’s singing and wanted to interpret that voice on the guitar.

“Without any design, these songs slid into place,” he said. “At first we were going to do ‘Hallelujah,’ but that song has become very popular, so we decided against it.”

Before embarking on his latest tour, Beck paired with Clapton for a handful of dates in Japan. The shows featured solo sets from each guitarist and culminated with a jam.

“Eric and I have always been linked through the Yardbirds, but we always seem to brush casually past each other,” Beck said. “I know people were hoping we’d compete to see who’s better, but I’ve always thought it looks stupid to try and out-shred someone. Eric would hit me with a certain style of music, and then it’s up to me to respond. It’s a meeting of two people, not a guitar contest.”

While Beck’s tour will include about half of the songs from “Emotion and Commotion,” it will feature none of the guest musicians, including Wilkenfeld.

However, the tour has reunited Beck with drummer Narada Michael Walden, who played on Beck’s 1976 album “Wired.” Walden has since produced “The Bodyguard” soundtrack, wrote the No. 1 hit “Freeway of Love” for Aretha Franklin and has penned or produced other chart-toppers for Mariah Carey, Diana Ross, Starship and Al Jarreau.

“I had to replace the rhythm section because they had other commitments,” Beck said. “Tal had her own project to do, which she delayed while she was playing with me. I hesitated to call Narada because I knew how busy he was, but he said I should have called 30 years ago. He was waiting for the call.”

Keep reading:

The Best of Jeff Beck

Review: B.B. King and Buddy Guy

Review: Experience Hendrix

The True Story of Cadillac Records (Part One): The Birth of Chess Records and the Chicago Blues

Read Full Post »

(Above: “Goodbye Porkpie Hat” was Charles Mingus’ tribute to Lester Young. It has been a regular part of Jeff Beck’s performances for the past 30 years.)

By Joel Francis
The Kansas City Star

The guitarist’s guitarist, Jeff Beck has a long and varied career. Here are some of the high points from each of the genres he’s worked in.

Blues

“Ultimate Yardbirds” (2001)

The song “For Your Love” brought the Yardbirds their first big hit, but it cost them their guitarist. When Eric Clapton quit the group for abandoning their blues roots, Jeff Beck was recruited. Beck’s tenure in the Yardbirds bridged the early rave-up blues era and the later psychedelic rock phase. For a brief period, he was joined by Jimmy Page on bass and, later, second guitar. Shortly after the Beck-Page incarnation appeared in the film “Blow Up,” Beck left the band and started his solo career. He has, however, participated on several of the Yardbirds’ reunion albums.

Note: The Yardbirds’ catalog was a frustrating mess of reissues and piecemeal compilations until Rhino released the two-disc anthology “Ultimate Yardbirds.” The collection contains every A-side, key album tracks and a handful of rarities across all three eras of the band.

Hard rock

“Truth” (1968), “Beck-Ola” (1969)

As a nonvocalist, Beck has always had to hunt for a singer. When assembling his first post-Yardbirds project, he nabbed a little-known English R&B singer Rod “The Mod” Stewart. He also recruited Ronnie Wood to play bass. The trio — joined by a rotating cast of drummers — made two albums together before Stewart and Wood left to join the Faces. Both records have a similar feel to the heavy blues/rock Beck’s former bandmate Jimmy Page was making with Led Zeppelin.

Progressive rock

“Beck Bogert Appice,” “Live in Japan” (both 1973)

After the demise of the Jeff Beck Group’s second lineup, Beck teamed up with the rhythm section from Vanilla Fudge, drummer Carmen Appice and bass player Tim Bogert. While the studio album was a typical slab of power trio hard rock, the band expanded its template on the live album, stretching several songs to the 10-minute mark. Both albums contain Beck’s version of “Superstition,” the song Stevie Wonder wrote with Beck in mind, before Wonder’s manager persuaded him to keep it for himself.

Jazz/fusion

“Blow by Blow” (1975), “Wired” (1976)

Beck teamed with producer George Martin for his first all-instrumental solo projects. Asthetically, the albums fit comfortably alongside Chick Corea’s “Return to Forever” and the Mahavishnu Orchestra. “Blow by Blow” contains two Stevie Wonder covers and a version of the Beatles’ “She’s a Woman.” “Wired” contains some outtakes from the “Blow by Blow” sessions and a cover of Charles Mingus’ “Goodbye Porkpie Hat” that has become a concert staple. The drummer on “Wired,” Narada Michael Walden, is in Beck’s current touring band.

Pop

“Flash” (1985)

After a five-year recess, Beck returned with Nile Rodgers of Chic. “Flash” was Beck’s bid for mainstream credibility and featured eight singers across its 11 tracks. The album won a Grammy and reunited Beck with Stewart on Curtis Mayfield’s “People Get Ready.”

Rockabilly

“Crazy Legs” (1993)

The guitar sound on “B-I-Bickey-Bi, Bo-Bo-Go” and other early Gene Vincent singles had a big effect on Beck as a teenager. In the early ’90s he paired with the Big Town Playboys to pay tribute to Cliff Gallup, Vincent’s guitar player.

Techno

“Who Else!” (1999), “You Had It Coming” (2001)

Longtime fans were surprised when Beck embraced the samples and looping techniques made popular by the Chemical Brothers and Aphex Twins. “You Had It Coming” finds Beck sparring with guitarist Jennifer Batten and features an update of Muddy Waters’ “Rolling and Tumbling” with Imogen Heap on vocals.

Guest Appearances

Jeff Beck has popped up in some unlikely places over the years. Here are some of his most noteworthy performances on others’ albums.

  • Stevie Wonder – “Talking Book” on the song “Lookin’ For Another Pure Love”
  • Tina Turner – “Private Dancer” on the song “Private Dancer”
  • Mick Jagger – “She’s the Boss” and “Primitive Cool”
  • Roger Waters – “Amused to Death”
  • Jon Bon Jovi – “Blaze of Glory – Young Guns II” soundtrack
  • Hans Zimmer – “Days of Thunder” soundtrack
  • Buddy Guy – “Damn Right, I’ve Got the Blues” on the song “Mustang Sally”
  • The Pretenders – “Viva el Amor!” on the song “Legalise Me”
  • Toots and the Maytals – “True Love” on the song “54-46 Was My Number”
  • Cyndi Lauper – “The Body Acoustic” on the song “Above the Clouds”
  • Morrissey – “Years of Refusal” on the song “Black Cloud”

Keep Reading:

Jeff Beck relishes “Commotion”

Read Full Post »

rock hall dvds

By Joel Francis

When the Rolling Stones were inducted into the Rock and Roll Hall of Fame in 1989, a tuxedo-clad Mick Jagger famously announced “Tonight we’re all on our best behavior — and we’re being rewarded for 25 years of bad behavior.”

That irony is on full display throughout eight of the DVDs in a new collection of induction ceremony performances released by Time Life and the Rock Hall this month. (A ninth disc features highlights from the 1995 Concert for the Rock and Roll Hall of Fame held in Cleveland.) Despite white tablecloth banquet tables and austere surroundings, great music frequently prevails.

The “Rock Hall Live” discs each run between 75 and 90 minutes and have a loose theme of soul, punk or ‘50s pioneers and the performances span the first ceremony in 1986 to this year’s Metallica induction. The performances tend to fall in two camps.

The early ceremonies were all-star celebrations of the inductees’ songbooks shot with on a couple video camera. Through fly-on-the-wall footage we see Jerry Lee Lewis and Chuck Berry swap verses on “Roll Over Beethoven” and Little Richard rejoice through “I Can’t Turn You Loose” as Jagger, Bob Dylan, members of the Beatles, Beach Boys and other rock royalty stand shoulder to shoulder, holding mics and strumming instruments. It’s fun to play spot the artist during these early presentations. Sometimes the results are shocking, as when Stevie Ray Vaughan appears – playing a Les Paul, no less – during “Beethoven.”

As the ceremonies grew in stature, the performances were better preserved and choreographed. The past 15 years of inductions play like one massive VH1 special, makes sense as these events have been a spring broadcast staple on that channel for better than a decade. Although the production is smoother, the spontaneity is retained when Jimmy Page casually strolls onstage to join Jeff Beck on “Beck’s Bolero” and Queen jam with the Foo Fighters on “Tie Your Mother Down.”

With are more than 100 performances across the nine discs, some unevenness is expected. Some this is because of the health of the performers. These discs capture some of the final appearances by The Band’s Rick Danko, Ruth Brown, Lynyrd Skynyrd’s Billy Powell and Johnny Cash. Brown and Powell are fine, but Danko and Cash labor through their sets. Sometimes the pairings misfire, as on Bruce Springsteen and Axl Rose’s duet through “Come Together.”

These missteps are minimized by the tight pacing of each disc, which moves from artist to artist like a well-paced soundtrack, with occasional snippets of introduction and induction speeches. (Complete version of selected speeches are available as bonus features.)  Despite the loose themes, each disc boasts a variety of guitar heroes, singer/songwriters, tributes and hits.

The best moments come when the performers reach beyond the formal atmosphere, like when Patti Smith spits onstage, or two kids bum rush the stage to help Green Day commemorate the Ramones. There is an impressive display of solos from guitar heroes Beck, Page, Eric Clapton, Buddy Guy, B.B. King, Joe Perry, Carlos Santana, Peter Green, and Kirk Hammett, but the greatest six-string moment is Prince’s searing tribute to George Harrison on “While My Guitar Gently Weeps.” Anchored by Tom Petty, Jeff Lynne and Harrison’s son Dhani, the immaculately tailored Prince soars on an jaw-dropping solo that is long on both melody and style.

Each disc contains about a several bonus features, which highlight backstage moments like watching Steven Tyler and Joe Perry induct Led Zeppelin from the wings of the stage with the band (and Willie Nelson!). It’s fun to watch Robbie Robertson, Bruce Springsteen and John Fogerty work out “Green River” and to eavesdrop on Hammett and Perry talk about guitars, but one viewing is probably enough.

One downside to this set is the packaging and sequencing. Each disc is housed in its own separate, full-sized case. This takes up a lot of shelf space. It would have been nice if they all came bundled in one compact, cardboard and plastic unit like seasons of TV shows.

The greater inconvenience is the sequencing. Cream’s three-song reunion from 1993 is spread across three discs. Ditto for the Doors’ 1993 set with Pearl Jam’s Eddie Vedder (three songs over three discs) and Bruce Springsteen’s E Street revival from 1999 (four songs on four discs). Culling the best moments is understandable, but it would have been great to get the multi-song sets in one place. It is also puzzling that less than two hours of the six-hour Concert for the Rock and Roll Hall of Fame are included.

Oversights aside, any of these discs stand alone as a fun romp through rock history and celebration of its greatest songs and players across most genres and eras. At $120, this set isn’t cheap, but it’s a heck of a lot more affordable – and easier to come by – than the ticket that gets you a plate at one of those sterile, banquet tables. You don’t have to dress up, either.

(Full disclosure: The Daily Record received a complimentary review copy of “Rock Hall Live.”)

Keep Reading:

Rock Hall Celebrates 50 Years of Motown

Rock Hall Celebrates the 40th Anniversary of Woodstock

George Kalinsky: Painting with Light (Rock Hall photo exhibit)

Bruce Springsteen Rocks the Hall (part one)

Bruce Springsteen Rocks the Hall (part two)

Read Full Post »

(Above: Honorable mention R.L. Burnside, who was convicted of murder 1959 and sentenced to Parchman Farm. Burnside later said, “I didn’t mean to kill nobody. I just meant to shoot the sonofabitch in the head. Him dying was between him and the Lord.”)

By Joel Francis

Phil Spector is hardly the first musician to be convicted of murder. He’s not even the most famous or influential one. But he is the latest. In honor of Spector’s recent sentencing, The Daily Record recognizes five other musicians convicted of murder.

Cool C and Steady B

Cool C and Steady B both came of age in the 1980s Philadelphia rap scene. Steady, nee Warren McGlone, was one of the first Philly rappers to taste the mainstream, while Cool, born Christopher Roney, was a member of the Hilltop Hustlers. The two teamed up in the early ’90s to form C.E.B., which was short for Countin’ Endless Bank. Taking their moniker a little two seriously, the duo decided to rob an actual bank.

On Jan. 2, 1996 – perhaps fulfilling a New Year’s resolution – C, B and Mark Canty, another Philadelphia rapper, attempted to rob a PNC bank in the City of Brotherly Love. Needless to say, the heist didn’t go as planned. When officer Lauretha Vaird responded to the silent alarm, she was shot and killed by Cool C. Steady B exchanged shots with another officer as the trio hopped into a stolen minivan and made their escape.

Steady was arrested at his apartment shortly after the crime. When two handguns left at the bank were traced back to him, he confessed to the crime.

In October, 1996, Cool was convicted of first degree murder and sentenced to death by lethal injection. Steady got off with a second degree murder conviction and life in prison. Cool was granted a stay of execution in 2006, by Pennsylvania Governor Ed Rendell (probably a closet C.E.B. fan), but remains on death row. Steady also remains incarcerated.

Little Willie John

In the late 1950s, Little Willie John traveled in the same soul circles as his contemporaries Sam Cooke, Jackie Wilson and Hank Ballard. His parade of hits started in 1955 with “All Around the World” and included “Need Your Love So Bad” (later covered by Peter Green’s Fleetwood Mac) and “Fever,” which Peggy Lee made famous and took to the U.S. Top 10.

John had a golden voice, but he also had a bad temper and a taste of alcohol. Those three traits collided backstage at a concert in 1964 when John stabbed a man to death. He was convicted of manslaughter and sentenced to Washington State Prison. John was appealing his conviction and aiming for a comeback when he died of pneumonia in 1968.

Don Drummond

In the fall of 1964, trombone player Don Drummond was living the good life. The band he helped form, the Skatalites, were finally breaking through, thanks to a song he wrote. “Man in the Street” was a Top 10 U.K. hit and for many their first taste of reggae. One year later, Drummond’s arrangement of the Guns of Navarone also hit the U.K. Top 10. But 1965 was not as kind to Drummond.

Drummond earned the nickname “Don Cosmic” for the erratic behavior brought on by his manic depression. When the body of Drummond’s girlfriend exotic dancer Marguerita Mahfood was found in Drummond’s home with several knife wounds, the police quickly arrested Drummond and charged him with murder. Drummond was judged legally insane at his trial and committed to Bellevue Hospital in New York City. Drummond died in Bellevue in 1967 at the age of 39. His death was ruled suicide, but because no autopsy was performed conspiracy theories persist to this day.

Drummond left behind a catalog of more than 300 songs and pivotal role backing Lee “Scratch” Perry, the Wailers, Delroy Wilson at their earliest sessions.

Jim Gordon

Drummer Jim Gordon started his career backing the Everly Brothers in 1963. By the end of the decade he’d performed on “Pet Sounds,” “The Notorious Byrd Brothers” and numerous other albums. When Jim Keltner pulled out of a tour with Delaney and Bonnie, Gordon was brought in as the replacement. Gordon got on so well with the rest of the band, which included Eric Clapton, bass player Carl Radle and keyboardist Bobby Whitlock, that the quartet played on Clapton’s first solo album, the first post-Beatles album by Clapton’s friend George Harrison (“All Things Must Pass”) and even a session with Ringo.

The group is most memorable, however, for the album it produced with Duane Allman. As Derek and the Dominoes, Clapton was able to pour out his unrequited love for Harrison’s wife Patti Boyd and Allman was able to lay down some of his best licks. Gordon gained notoriety for writing the piano coda to “Layla.” He composed the piece independently and had to be persuaded to let Clapton incorporate into what became one of the biggest rock singles of all time.

After Derek and the Dominoes broke up in 1971, Gordon played in Joe Cocker’s Mad Dogs and Englishmen tour. He also toured with Traffic and Frank Zappa. Gordon’s session work also flourished. He played drums on Carly Simon’s “You’re So Vain,” and the Incredible Bongo Band’s “Bongo Rock” album. Gordon’s drum solo on “Apache” is one of the most sampled licks in hip hop.

In the late ’70s Gordon complained of hearing voices. Treated for alcohol abuse instead of schizophrenia, the voices had pushed Gordon out of music entirely by 1981. They pushed him even further in 1983 when Gordon killed his mother with a hammer. Gordon was properly diagnosed in his 1984 trial and sentenced to sixteen years to life with the possibility of parole. Gordon remains in prison.

Lead Belly

Most musicians wait until after they’re famous to start killing people. Not the man born Huddie Ledbetter. Before he recorded a note for Alan Lomax, the towering legend of folk and blues had escaped from a chain gang in Texas, served seven years for killing a relative in a fight over a woman. Lead Belly learned new songs and honed his craft while in prison, eventually earning a pardon from Texas Governor Pat Neff, who enjoyed the religious songs Lead Belly had played for him. Five years later, Lead Belly was back in prison, this time for attempted homicide. After serving three years for knifing a white man in a fight, he was discovered by John and Alan Lomax, who fell under his spell and petitioned to have him released.

After taking Louisiana Governor O.K. Allen a recording of “Goodnight Irene,” Lead Belly was released (the official reason was time off for good behavior). He recorded several albums for the Library of Congress based on his book “Negro Folk Songs as Sung by Lead Belly.” Unfortunately, Lead Belly could not shake his criminal past, and was back in jail again in 1939 for stabbing a man in a fight in New York City. Again, Alan Lomax jumped to Lead Belly’s defense, dropping out of graduate school and helping Lead Belly record an album of songs to pay for his legal expense.

Lead Belly became a fixture of the New York City folk scene in the 1940s. He appeared on the radio, performed with Brownie McGhee, Sonny Terry, Woody Guthrie, and others and recorded a wide range of music. Acolyte Bob Dylan once said Lead Belly was “One of the few ex-cons who recorded a popular children’s album.”

“Goodnight Irene” became Lead Belly’s most popular song. Unfortunately, he did not live long enough to see Pete Seeger’s group the Weavers make it a No. 1 hit.

Lead Belly died in 1949, leaving behind a treasure of songs that includes “Midnight Special,” “Cotton Fields” and “Rock Island Line.”

Read Full Post »

derek_trucks_band

By Joel Francis
The Kansas City Star

Guitarist Derek Trucks was 12 years old when Bob Dylan asked him onstage during a show to play “Highway 61 Revisited.”

For Trucks, it was just another gig. The look on his dad’s face, however, told a different story.

“I knew who Dylan was because my dad was a massive fan, but it didn’t hit me then like it would have now or even 10 years ago,” Trucks said. “But even though I didn’t realize the significance, I could see it in my dad’s eyes that this was life-changing.”

Trucks and his father were both right. Playing with Dylan was just another encounter for the prodigy who would go on to play with Buddy Guy, Carlos Santana, Eric Clapton and numerous others. But it also opened the door to other possibilities.

Trucks, who turns 30 in June, now helms his own eponymous group (performing Friday at Harrah’s Voodoo Lounge) and also plays in the Allman Brothers Band. He returned Dylan’s favor with his supercharged blues cover of Dylan’s “Down in the Flood,” which opens his sixth and newest studio album, “Already Free.”

“I try to pick covers with some connection to the band,” Trucks said. “Part of that is Dylan is such a good songwriter with a great amount of tunes, but on top of that I figured after Katrina and the flooding in Iowa, the title and the lyrics were just a great metaphor for all that.”

Trucks didn’t go into the studio planning on cutting a record. Finding himself with downtime at his Jacksonville, Fla., home – atypical for a man who averages 300 shows a year – and a recently completed home studio called Swamp Raga Studio, Trucks and his band decided to lay down some tracks just to see how the room felt.

“The first day we wrote and ” Trucks said. “The next thing we recorded (the song) ‘Already Free,’ knew there were a dozen, then two dozen songs. We started calling people from (wife and blues guitarist) Susan (Tedeschi)’s band, Doyle (Bramhall II), Warren Haynes, Oteil Burbridge, to come in.”

The resulting release has a laid-back yet focused organic vibe that inhabits the best of the Allman Brothers’ Capricorn albums.

“It’s the most natural record I’ve done,” Trucks said. “It was very comfortable recording, and I think you can feel it. We captured tunes hours after they were written. There’s a freshness that comes across when songs are captured so quickly.”

Unsurprisingly, Trucks wanted to translate that urgency to the road as quickly as possible. The Derek Trucks Band tour kicked off last week.

For someone who has seemingly played with everyone, Trucks had the opportunity to encounter another legend and influence last year.

When you record two John Coltrane numbers on your debut album, and the opportunity to play with Coltrane’s longtime pianist McCoy Tyner arises, you don’t say no.

Still, Trucks was intimidated. Especially when he walked into the studio and saw bass player Ron Carter and drummer Jack DeJohnette.

“Those guys are legends in their own right, but McCoy is on his own level,” Trucks said. “He was such a sweet guy. He really made it feel comfortable.”

Trucks entered the studio with a list of four songs he hoped to play with the trio, but as the last guitarist on the session, some of his choices had already been recorded.

“My first choice of song was ‘Contemplations,’ but (jazz guitarist Bill) Frisell had already recorded it,” Trucks said.

The two-day session yielded collaborations with Trucks, Frisell, Bela Fleck, Marc Ribot and John Scofield. Trucks was the only “rock” guitarist invited, but he works well on his two featured cuts, “Slapback Blues” and “Greensleeves.” Trucks’ presence in the company of such eclectic legends is unsurprising given the range of covers his band performs – everything from Pakistani qawwali singer Nusrat Fateh Ali Khan to Delta bluesman Son House – and the diversity of the band playing them, which contains a four-decade age span.

Trucks said his innate musical curiosity has not only expanded his palate but has also given him a level of comfort playing with nearly anyone.

“It started at such a young age. I was always around musicians, so I’d try to pick their brains and see what influenced their music,” Trucks said. “A huge part of being able to stay on the road and on top of the game is to keep finding inspiration. You keep finding different things that turn you on, things that tweak different parts of the brain. In the long run you’re a better musician for it.”

Trucks hopes that same level of comfort and curiosity extends to his home Swamp Raga Studio.

“I’ve spent a lot of time with Willie (Nelson) in Maui, and anywhere he is has a clubhouse vibe. I can see that communal feeling. Wherever you are with him – on his bus, in his home – he makes sure everybody is absolutely comfortable,” Trucks said. “That’s kind of what it’s (Swamp Raga) starting to turn into in the month and a half we’ve gotten into it.”

Swamp Raga is not only musician-friendly but environmentally friendly as well.

“The beauty of building from scratch is that you can think about stuff ahead of time,” Trucks said. “When I figured the electric bill would be double, not only was that a financial hit, but psychologically I started feeling guilty because of all the energy we’d be using. We went out of our way to be conscious of that. We made it a point to do everything as efficiently as possible.”

To that end, Trucks and Tedeschi installed 26 solar panels on the studio and their home. And in the months when the family is out on tour, the local utility company pays them for the energy their panels generate.

“Sometimes our bill comes in right around zero,” Trucks said. “By doing the right thing it actually works out better in the end.”

Despite such 21st century enterprises, Trucks believes his band and his music are a throwback to a time where wooden instruments were hand-crafted and stepping onstage meant being ready to cut some heads.

“When you get on stage, you have to bring it,” Trucks said. “I get a sense from new music that the idea is to outsmart your audience or be so ultra-hip you can pull one over on them.

“With a band like ours, we try to represent a more honest music. We’re musicians representing our craft first and then trying to connect with people.”

Read Full Post »

(Above: Savion Glover does his thing with plenty o’ swing.)

By Joel Francis

Continuing The Daily Record’s look at the state of jazz today, here is the final of three installments shedding light on 15 jazz greats to emerge in the last 20 years. Note that these musicians are not necessarily the 15 greatest jazz artists to arrive since 1990. A brief listen to any of them, though, should more than persuade the most ardent purist that jazz is alive and well.

Eldar Djangirov

Eldar Djangirov is the continuation of the great line of pianists to emerge from Kansas City, Mo. that stretches back to Count Basie and Jay McShann. The three have more than an adopted hometown in common, though. Although none were born in Kansas City, all experienced significant musical growth while living there. Unlike Basie and McShann, though, Eldar’s formation started before puberty. He performed at a Russian jazz festival at age 5 and at age 12 became the youngest guest ever on Marian McPartlan’s Piano Jazz radio show. Though his latest album is straight-up smooth jazz, Eldar’s earlier work has a breadth that recalls everyone from Ahmad Jamal to Art Tatum. Albums to start with: Eldar, Live at the Blue Note

Christian McBride

Bass player Christian McBride was mentored and hailed by no less an authority than Ray Brown before starting off on his own. McBride works comfortably in the traditional vein on his early albums like “Fingerpainting,” the excellent tribute to Herbie Hancock performed in a bass/guitar/trumpet setting. He gets more funky and touches on fusion with his three-disc live set recorded at Tonic and studio albums “Sci-Fi” and “Vertical Vision.” In 2003, McBride collaborated with hip hop drummer Ahmir “?uestlove” Thompson of the Roots and keyboardist Uri Caine for a spectacular collaboration known as the Philadelphia Experiment. McBride has also worked extensively with Sting and Pat Metheny. Albums to start with: Fingerpainting, The Philadelphia Experiment.

Joshua Redman

Expectations have been high for Joshua Redman since winning the Thelonious Monk International Jazz Saxophone Competition in 1991. While Redman hasn’t fulfilled those unrealistic expectations by taking his instrument to the heights achieved by Sonny Rollins and John Coltrane, he has built a strong career on his own terms. Redman’s early quintets helped launch the careers of Christian McBride and Brad Mehldau and his work as musical director of the San Francisco Jazz Collective paired him with legends like Bobby Hutcherson and new artists like Miguel Zenon. Redman’s catalog is adventurous enough to include covers of Eric Clapton’s “Tears in Heaven” with guitarist Pat Metheny and funky experiments that recall Eddie Harris. Albums to start with: Spirit of the Moment, Back East.

Savion Glover

Jazz tap may have died with the golden age of big-budget Hollywood musicals, but Savion Glover is trying his best to bring it back. He has appeared in televised concerts with Wynton Marsalis’ Jazz at the Lincoln Center Orchestra, collaborated with poet Reg E. Gaines and saxophone player Matana Roberts for the John Coltrane-inspired improve “If Trane Was Here,” appeared in Spike Lee’s “Bamboozled” and was a cast member of “Sesame Street.” Glover hasn’t recorded any albums, but his live performances are a potent reminder that jazz isn’t the exclusive province of those with a horn or a voice.

Bad Plus

Combining rock and jazz is nothing new, but the piano/drums/bass trio Bad Plus have done it in an acoustic setting that resembles Medeski, Martin and Wood more than Weather Report. Their early albums were filled with original material that split the difference between Oscar Peterson and Ben Folds, tempered by occasional arrangements of Pixies and Black Sabbath classics. Unfortunately, recent releases have steered sharply away from new compositions and saturated the increasing covers with more irony. While the concept of their newest album – all covers with a female vocalist – makes one wary, their early material should not be overlooked. Albums to start with: Give, Suspicious Activity.

Keep Reading 15 Jazz Greats to Emerge in the Last 20 Years

Part One

Part Two

Five Legends Still Adding to Their Legacies

Read Full Post »

Older Posts »